Mickey Rourke has filmed an episode of “Inside the Actors Studio” with James Lipton, which should make for fascinating viewing. After all, this is a probing atmosphere and while Rourke can be somewhat forthcoming and certainly a grand storyteller, he can also be guarded about things.
Hulu has an exclusive preview of the episode up with various snippets. There’s discussion of a talk he had with Muhammad Ali before a scary fight during his boxing years, an anecdote about how he landed his role in “The Pope of Greenwich Village” and what he expects from directors, among other things. The most moving account is certainly this bit about his brother, Joey — the bravest person he says he ever met:
One more after the jump, as Rourke describes, with more levity, how he decided to “try this acting shit” and gives Lipton a pound. Yeah, a pound.
The summer season is winding down, the festival season is gearing up, and within the month, we’ll be neck-deep in Oscar chatter that won’t let up for roughly 200 days. It’s what you come to the site to read, so here’s what you can expect.
So much of my life is spent in the dark watching flickering images on a screen. Not that I am complaining; it is a life I wouldn’t trade for the world, but I do enjoy being outdoors. My wife, my two daughters and I live 50 miles outside of Toronto in a small country village called Seagrave in a century home. With about an acre of property, we have a large deck and a swimming pool for the girls. I hear friends talk about moving or buying a new home, but we will die here. Never will this house be sold as long as I am alive, and the plan is to allow the girls to have it, share it as a summer home when Sherri and I are gone.
In what is surely the richest weekend of the year for discerning British cinemagoers since the glut of Oscar contenders in January, both Kathryn Bigelow’s “The Hurt Locker” and Pedro Almodovar’s “Broken Embraces” hit UK screens today.
It’s been a very good week for Michael Haneke’s Palme d’Or winner “The White Ribbon.” One day after being 
Since starting up a decade ago, British outfit Optimum Releasing has done sterling arthouse distribution work in their home country: this year alone his seen them bring “The Hurt Locker,” “The Wrestler,” “Gomorrah” and “In the Loop,” among others, to UK screens. But until now, they haven’t had much profile on the production side of things.
John Lasseter certainly gives good interview. We 
I’ve been of the mind for quite some time now that a good (operative word) pirate film is way overdue. The “Pirates of the Caribbean” films are fine and all, the first one especially. Blending the mythos of a pirate story with that of, essentially, a ghost yarn was a brilliant way to make the oeuvre more palatable to audiences.
A few weeks ago I analyzed the Best Sound Editing category, which awards the creation and integration of artificially created sound effects. Today, we look at sound mixing – the overall composition of all the elements of a movie’s soundscape into a singular soundtrack. The re-recording mixers, who do this work during post-production, are rewarded alongside the production sound mixer, who captures the sound on set.
The press release, in part:
I had the pleasure of interviewing Mark Boal, the celebrated journalist and screenwriter of “The Hurt Locker,” over a beer in London last week, and was glad to find him as alert and interesting a subject as the film he wrote. (The interview will crop up on these pages soon, by the way.)
It should come as no surprise to anyone that Germany has